By Albert Grunwedel
Проф. А. Грюнведелю принадлежит честь первой попытки дать систематический обзор одного из главных отделов индийского искусства – буддийского. Книга эта уже в первом издании обратила на себя внимание специалистов, и второе, несколько дополненное и исправленное издание, ещё больше укрепило за проф. Грюнведелем право считаться одним из лучших знатоков искусства Индии.
Конечно, со времени выхода книги в ориенталистике уже наработан большой материал и опубликовано большое количество специализированных исследований по тем или иным отделам индийского искусства, получены новые данные археологии и т.д., и многие положения, отмеченные в исследовании А. Грюнведеля, могут уже считаться устаревшими и спорными. Однако, книга несомненно станет интересна всем, кто интересуется культурным наследием буддизма в Индии, как представляющая одну из значительных вех развития западной науки о Востоке.
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Additional info for Buddhist Art in India
S'Hi). the east gateway at Sanchi, oonf ill. 39. prevailed, in Buddhist times, throughout the whole of India. Conf. Burnouf, Int. , pp. 116, 532f, 546f Suitas (Sac. Bks. of the East, vol. XI), pp. 162f. 1 2 Conf. Burnouf, Intr. Bud. , 2d. ed. p. 68n. ; Stri and Sri, Rhys Davids, Buddhist \ THE GODDESS SIRI OR SRI. "woman and goddess of fortune," says a still current proverb, 1 which affords a valuable reminiscence from Indian antiquity, according to the conception of which woman was by birth the equal of man.
It may be supposed that if the West Asian forms had not been in the shapes, this careful fashioning of preserved, this inconstancy which names cannot extraordinary creatures of the imagination, to be given, must point likewise to foreign influences. It is interesting that, even Asoka's time, in alongside these purely hither Asian forms, some also apcan peared sporadically which 2 The Greek be of origin. only representation of divine beings forms under purely human a feature of native art that is opposed to these foreign influences on ancient Buddhist art arid a marked chimaeras to the contrast (Kinnaras) of West Asia is presented by the native animal world, which is not so frequently met with decoratively, but leaves this role to the foreign forms.
Unknown, a refinement soon appears which As strict training was seen chiefly in the representations of women, and becomes by and by baroque or rococo in style. With this conception of the human form agrees the circumstance that even at an early date an interest in porif one traiture, at least in national portraits may be allowed the is is evinced. The different peoples that lived side by expression side in India were distinguished from one another above all contact with peoples of hither Asia, in the time of physically Asoka, revealed new types, and thus we undoubtedly see an attempt for instance to represent foreign nations in the equestrian : groups that adorn the Safichi gateways.
Buddhist Art in India by Albert Grunwedel